Edward Enninful reflects on Today's Society: 'Britain Feels Less Tolerant Now' Compared to the Nineties.

An unexpected discovery while riding the tube in 1988 transformed the trajectory of a teenage Ghanaian newcomer to Britain. Spotted by a talent scout, Edward Enninful was rapidly ushered into the London's buzzing 1990s artistic milieu, progressing from model to stylist and, while still a teenager, becoming the fashion director of the publication i-D.

"That era was the height of the Britart scene – Jay Jopling, Tracey Emin. I encountered Kate Moss at a casting," he states. "Then I met Naomi for a cover, and I understood we’d be kindred spirits. We all hung out across disciplines. Friday rolled into Saturday into Sunday. I miss that spontaneity."

If Enninful sounds wistful, he is in good company. In recent times, a wistful romanticisation of the 1990s has become pervasive. However in the intervening decades, Enninful perceives a significant change. "I believe, we’re more divided now than we were in the 90s," he remarks. "The issue extends beyond this country – it’s a global phenomenon."

A Cultural Backslide

This shift is difficult to overlook: the growth of far-right politics, the reaction against so-called "wokeness", and the reinforcement of Eurocentric beauty standards. Replacing the hope of the previous decade, today a different political personality stands as a possible leader. Furthermore, the British flag, once an emblem of cultural optimism, has sparked debate once more.

In Enninful's view, the solution has always been to promote culture in all its variety. This was the guiding principle behind his landmark issue as editor of British Vogue in 2017, which served as a portrait of modern Britain, featuring a diverse array of cultural icons from politics.

"Those in a position of influence should wield it," he comments, explaining those publishing choices. "People often debate about immigration; I could not have had this life if Britain were not a lenient country, if it hadn't given my family a refuge and an opportunity. That’s the Britain I believed in. I believe this period will fade."

Hope in the Next Generation

He finds hope in the next generation: "They are far more conscious than we were. They talk about implicit prejudice – I was not even aware what that was."

His formative years would shape a pioneering career characterised by boldness and diversity. Enninful broke barriers as the first male, first black man, first openly gay person, and first disabled Black gay man to lead at British Vogue. His leadership featured landmark covers showcasing models of colour, curvy models, an octogenarian, and people from all walks of life. Significantly, sales increased.

"Ignoring large portions of the population, it’s more than that you’re excluding people – it’s a poor strategy," he states.

A New Chapter as a 'Disruptor'

He has since founded his creative company EE72 and its accompanying magazine, 72, his first major project since moving on from his previous role. He says he wants to continue being a "change-maker".

"My nature is to challenge the established norms. I was raised in a place where everybody was black – the physicians, the lawyers, the president. Then we arrived in England, without funds, and I found myself on the margins. I was incredibly timid. My teachers predicted I’d achieve nothing. Me and my brothers were subject to police stops the suspicion laws … this duality gave me a sense of being on the inside and the outside."

Contrary to the stereotype of fashion editors as loud and temperamental, Enninful is softly spoken and radiates serenity. His path has included its share of challenges, including publicly shared periods of mental health and substance use.

He has also undergone significant health issues, having undergone several surgeries on his eyes, resulting in impaired eyesight. "I endured such a dark place for two years, not working, terrified I was going to lose my sight. It’s like PTSD; you just exist in a state of dread 24/7. I vowed, if this ever passes, I’m just going to do everything that I was so afraid to do. I’m not going to restrict myself to just being an editor or a fashion person."

The Tate Britain Exhibition

This determination to be typecast has led him beyond the industry that made his name. He is now putting together a significant 1990s exhibition at Tate Britain, bringing together work by a roster of influential artists and photographers from the era. The show, he says, aims to evoke the decade's interdisciplinary energy – and highlight those who lacked due recognition at the time.

"The establishment didn't always promote the most relevant talents because they did not have the right pedigree," he comments.

This project itself uses a unique strategy, forgoing traditional advertising in favour of partnership-based projects. "The question is, what can we achieve in partnership? Is it an event, a podcast? The magazine is a piece within a larger creative platform."

A Testament to Resilience

Today, Enninful operates as one of the world's most influential creative power brokers. His journey, he feels, is a testament to the power of defying expectations.

How would the younger Edward react to the his current self? He laughs heartily. "It would be a surprise, but he’d be pleased. Back then I was anti-establishment. I didn't think institutions like Tate were a place for someone like me."

He pauses. "I never take anything for granted. We lost our home, we fled our country. I almost lost my vision. So there is no room for fear. People have underestimated me my entire life. But nothing can stop me once I’ve decided to do something."